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valuable, the conventional notation system can sometimes overshadow the importance of auditory perception. Barlines, the equivalent of stop signs in music scores, are inserted before each downbeat in musical notation, sending a clear visual signal to halt the musical flow. Hoover's desire for long, unimpeded musical phrases led her to break free from the restrictive walls they imposed. Her compositions are liberated from such constraints and invite musicians to respond not only to the written notes but also to the sounds of the piece and the acoustics of the performance space. This influences the tempo, interpretation, and the duration of rests and fermatas.
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dream became a reality when she began piano lessons. Although her parents had no musical training, they supported
Katherine's artistic inclinations. Hoover fondly remembered those early days, saying, " would play a game, just putting their hands down anywhere in any combination and asking me what notes they were playing. Then, turn to young Hoover to query the notes they had just played. This unique ear training, Katherine believes, contributed significantly to her development of perfect pitch, a rare and invaluable gift.
810:“Hoover openly borrows from the compositional techniques of other composers. At Eastman, she worked with a student of Hindemith, … and became familiar with Hindemith’s theories of consonance and dissonance. Bartok also influenced Hoover’s music, particularly in the harmonies she utilizes… related to the “split-root” or “major-diminished” chord… final movement of Medieval Suite. Bartok’s influence is also clear in the title of her first woodwind quintet, Homage to Bartok (1975).”
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unique needs. Hoover's expertise in composing for the flute was evident in her idiomatic flute compositions. However, she was also skilled in composing for a wide range of instruments and ensemble configurations, including orchestral and concertos. While she explored various musical avenues, a significant portion of her work focused on chamber compositions. This was a practical choice considering the evolving landscape of orchestral programming and conductor involvement.
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original form and showcasing her ability to create captivating hybrids. Notably, her use of musical quotation is not always overt, as seen in the innovative ways she quotes
Guillaume de Machaut's "Virelai No. 17, Dame, vostre doulz viaire debonair" in the first movement of "Medieval Suite." These two examples demonstrate her talent for manipulating melodies and integrating these adaptations with her original material. This is confirmed by Cathy Hancock Hicks:
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pasteurization also contributed directly to the war effort. This relocation marked the beginning of a new chapter for the family. Leaving their familiar surroundings, the family rented their home in D.C. and relocated to a two-family house on Linden Rd. Katherine's father happily took advantage of walking to work at the research center. However, the private consequences of moving from the city to suburbia have not been detailed.
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further enriching her musical arsenal. This scholarly pursuit went hand in hand with her remarkable gift of perfect pitch, which allowed her to explore how individuals interact with and interpret sound. This profound insight became invaluable as she advanced on her creative journey as a composer, always seeking the distinctive. This insight has been shared individually, with both Alicia
Joyelle Kosack and Kristine H. Burns, Ed.
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to her numerous appearances on radio and early television programs. Overall, she had a rich musical education, which helped her hone and develop her talents. Later in life, when asked about her scholastic music instruction, Katherine apologetically responded that it was "mediocre." Expressing the desire for a faster learning curve in hindsight, especially considering her artistic aspirations.
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altering its pitch level. Subsequently, an extended quote appears at the original pitch level, achieved through the use of harmonics overblown at the twelfth. These adaptations seamlessly merge with her original material. Throughout the composition, listeners encounter additional musical quotations, including references to the iconic "Dies Irae" in the final movement, titled "Demon's Dance."
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772:"Hoover composes with the effects peculiar to each individual instrument in mind, incorporating such effects into the thematic and emotive content of the work at hand. . . . demonstrate a great gift for expressive lyricism, . . . are notable for rhythmically dynamic passages laced with incisive dissonance but often mingled with elements of jazz and well-timed humor."
479:. According to Katherine, Kincaid was a renowned flutist and teacher who taught her much about the phrasing of the Kincaid/Tabuteau school. This became the foundation of her playing, musical understanding, and writing. Katherine said that Kincaid's standards were very high, and she had to work hard to meet them.
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to follow her passion. However, her experience was different than expected. Hoover was often ignored and discouraged as the only woman in her classes. Katherine candidly expressed her disappointment, saying, "There were no women involved with composition. rather discouraged – being the only woman in
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During her high school years at
Springfield Township, Hoover found a diverse musical education. She participated in various musical activities, including bands, marching bands, and the Eastern Pennsylvania State Band. Additionally, she was a member of the "Quintones" singers for five years, which led
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Katherine Hoover had a deep understanding of music, especially in playing an instrument. She believed that being proficient in an instrument gave one a unique advantage in understanding the intricacies of creating music at a high level. This knowledge fostered a deep respect for performers and their
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Hoover's compositions draw inspiration from a diverse range of sources - Native
American music in flute pieces, such as "Kokopeli," "Winter Spirits," and "To Greet the Sun," Nicholas Gage's "Eleni" in an orchestral tone poem, Barbara Tuchman's "A Distant Mirror: The Calamitous Fourteenth Century" in
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In primary school, Hoover was given the option to learn how to play the clarinet as her first instrument. However, she did not enjoy playing it because it caused discomfort due to biting, pressure, and being in the wrong key. She was ecstatic when her music teacher offered her the chance to play the
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When Hoover's family moved to Linden Road, her father rescued a piano their neighbors were about to abandon. Despite being out of tune and having broken pedal action, her father had the piano tuned, and this fueled
Katherine's passionate and persistent pleas for piano lessons. Thus, at age five, her
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with honors in 1959. She accomplished a double major and was awarded the prestigious
Performer's Certificate in Flute, a testament to her musical prowess. This certificate also allowed her to perform solo with an orchestra, a significant achievement at Eastman. Her studies at Eastman acquainted her
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Hoover's ability to craft musical quotations extends beyond the overt, as seen in the subtle and innovative ways she incorporates them into her compositions. For instance, in the first movement of "Medieval Suite," she masterfully quotes
Guillaume de Machaut's "Virelai No. 17" in fragmented form,
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Hoover's unique compositional style bears the unmistakable imprint of her mentors Joseph
Mariano and William Kincaid. One foundational aspect of her music, as she acknowledges, is the concept of transitioning from a weak beat to a strong beat - a lesson she learned from Mariano and Kincaid. While
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in New York and organized three festivals, namely
Festivals I, II, and III of Women's Music. These festivals showcased the music of 55 women composers, both historical and contemporary. Her efforts in this area have been continuous as demonstrated by being the composer in residence for the Fourth
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The onset of World War II brought significant changes to Hoover's life. Her father, driven by a sense of duty, asked to be reassigned to the Department of Agriculture's Eastern Regional Research Center in Wyndmoor, Pennsylvania, a suburb of Philadelphia. A role better suited to his expertise in
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Hoover's formal training under her mentors is evident, but she humbly admits that her journey as a composer also involved a significant degree of self-discovery. Her tenure as a theory teacher at the Manhattan School enabled her to deeply delve into the intricacies of compositional techniques,
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Katherine Hoover's music thrives on the interplay of extra-musical references, skillful adaptation of other composers' melodies, and the harmonious fusion of these elements with her original compositions. This creates a captivating body of work that is imaginative and musically inventive. She
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Hoover skillfully incorporates musical quotations and adapts melodies from other composers into her compositions, creating a rich tapestry of musical influences. For example, in "Celebration," she blends her thematic material with direct quotations from well-known flute works, retaining their
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Hoover's compositional style is widely recognized for its unique and romantic character, often described as a "romantic, often pictorial atonal style." Her music is known for its clarity and elegance, with moments of stunning beauty arising from her occasionally dissonant harmonies.
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Hoover's career as a composer began slowly. As a scholastic student, she was unaware of any notable contemporary classical female composers. A decade later, after settling in New York, she published her first work, Three Carols (1972), for SSA chorus and flute, through
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350:'s Lifetime Achievement Award, where she is remembered by as an "artist, flutist, teacher, entrepreneur, poet, and, most notably, a distinguished composer." Also, there are two works where she cowrote under the pseudonym
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Hoover's parents didn't see music as a viable career option, probably due to their experiences during the Great Depression. Consequently, they pushed her towards academics, thus began her academic journey in 1955 at the
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Hoover had always written poetry since her youth finding both a striking difference and similarity between music and words. "This Way About"(2015). was her first book of poetry where she shares glimpses into her life.
797:"Medieval Suite," and a painting of the starry night sky in "Night Skies." These are just a few examples of Extra-Musical References giving her music a vivid and pictorial quality that resonates with audiences.
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Katherine has expressed pride in her ability to create works for specific performers using different instruments. Two examples being: "Stitch-te Naku" for Cello and Orchestra, which was written for cellist
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With the composer's original manuscript date of 1997, this work was posthumously edited by Joanne Lazaro in 2019 and was awarded the NFA's Newly Published Music Award Co-winner in 2020.
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529:(1969-1984). During this time, she analyzed a wide range of music scores and learned a great deal about compositional techniques. She also continued her graduate studies and earned a
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Hoover was actively involved with women's arts organizations and dedicated her efforts to promoting the works of women composers to the public. In 1977, she collaborated with the
377:. Standing in front of a large record player, young Hoover felt captivated by the music. That moment ignited her passion for music, and she has been pursuing it ever since.
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Several years after graduating, Hoover moved to New York, where she established herself as a flutist and teacher. She taught flute at the preparatory division of the
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The following three elements define Hoover's work are references to non-musical sources, quotations and manipulations, and the use of abstract techniques.
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As a flutist, Hoover has performed other compossers works, as well as her own. The following is a selected list of her recorded performances.
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balances musical expression with performer considerations, ensuring that even challenging passages maintain their lyrical elegance.
498:, wrote that she owed much of her success to her mentor, William Kincaid, who taught her more about music than any other composer.
490:. Katherine said that she learned a lot from Jambor by listening to her play and speak about Bach. Jambor taught and performed at
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American Women Composers: Selected Published Works for Flute And Piano and for Unaccompanied Flute Composed Between 1930 and 2008
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She also had the privilege to study with Mme. Agi Jambor, a distinguished pianist. Jambo had a great love for and specialized in
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In 1988 Papagena Press was cofounded by Hoover with her husband (Richard Goodwin, married in 1985) to publish her works.
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627:'s Newly Published Music Competition in 1991 and is one of six NFA Newly Published Music awards received by Hoover.
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1973:
563:'s Outstanding New American Chamber Work. She repeated this achievement the following year and was also awarded a
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1547:"The "Medieval Suite" for flute and piano by Katherine Hoover: An examination, analysis and performance guide"
414:, where she pursued a general studies major. After two years of general studies, Katherine transferred to the
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2055:(1). 26 Gibbs Street, Rochester, NY, 14604: 23 – via Eastman School of Music, University of Rochester.
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Beginning in1984, Hoover taught theory and composition to graduate students as a faculty member at
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Thesis/dissertation, Research project (D.M.A.)--University of Illinois at Urbana-Champaign, 1994.
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Finding the Hopi-Indian Traits in Katherine Hoover's "Kokopeli and Winter Spirits" for Solo Flute
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522:. During this period, she worked as a freelance flutist for multiple ballet and opera companies.
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in 1973. For eleven years, Hoover served as a faculty member at the Manhattan School of Music.
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After graduating, Hoover spent two years studying with William Kincaid and Hungarian pianist
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Composer's Fellowship in 1979. These successes marked significant milestones in her career.
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1989:
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In 1978, Hoover's growth as a composer was recognized when she became a finalist for the
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flute instead, and she began taking flute lessons in fourth grade at the age of eight.
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in the 1970s. As shown in her list of known works, she has composed pieces for solo
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from, 1962 to 1967. In 1964, she married John Christopher Schwab, (m.1964-1972).
2630:"A woman's voice : the clarinet concerti of Musgrave, Hoover, and Gotkovsky"
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Newly Published Music Competition, 1987, 1991, 1993, 1994, 2006, 2020(co-winner)
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1443:(2nd ed.). City University of New York: Feminist Press. pp. 165–172.
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Perhaps the greatest praise of Katherine Hoover's ability comes from composer
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1556:. University of Nebraska - Lincoln: University of Nebraska - Lincoln: 1–167.
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Research Project (D.M.A.)--University of Illinois at Urbana-Champaign, 1994
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1643:. College Park, MD: University of Maryland, College Park. pp. 17–20.
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my classes, being ignored, and so forth." While at Eastman, I learned of
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1764:"75th Birthday Tributes from Katherine Hoover's Friends and Colleagues"
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1525:. Fanfare: The Magazine for Serious Record Collectors. pp. 82–98.
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New York State Music Teachers' Association, Composer of the Year, 1989
2307:. Recorded June 13, 1983, Church of the Holy Trinity, New York City.
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and the "Clarinet Concerto," which was performed by jazz clarinetist
2421:"Member Laureate - Sigma Alpha Iota International Music Fraternity"
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Composed in 2008, this work for flute and piano was premiered by
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and the American Southwest was the first piece to be published.
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2189:(theatre studio recording). United States: Grenadilla Records.
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1519:"Women's Work - A Conversation with Composer Katherine Hoover"
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New York Flute Club Tribute Concert for Katherine Hoover, 2013
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1145:, Outstanding New American Chamber Work, finalist, 1978, 1979
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Flute & company : flute music / by Katherine Hoover
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Composed in 1998 and 2004, for the Colorado String Quartet.
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Cremated; ashes scattered in a place of family significance.
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National Flute Association Lifetime Achievement Award, 2016
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Composed in 1979, this work for orchestra premiered by the
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Composed in 1986, this work for solo flute was awarded the
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2231:(studio recordings). Greenville,Maine: Opus One-Number72.
2147:(Broadway play recording). London, United Kingdom: Decca.
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Thesis/dissertation, M.M. Manhattan School of Music 1972
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Frank Martin; Nancy Laird Chance; Ursula Mamlok (1982).
447:, and was highly regarded by eminent conductors such as
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Katherine Lacey Hoover was born on December 2, 1937, in
295:(December 2, 1937 – September 21, 2018) was an American
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Daysongs / Sonata da chiesa / Variations for Solo Flute
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Catherine P. Smith, “Interview with Katherine Hoover.”
1704:"Katherine Hoover, Flutist and Composer, Is Dead at 80"
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and also at several other small schools, including the
2447:(1 CD audio disc, LE-349). New York: LE-349 Leonarda.
2393:(studio recording). Woodstock, NY: Parnassus Records.
1975:
Women and music in America since 1900: an encyclopedia
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From 1969 Hoover taught flute and music theory at the
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www.web-s-ebscohost-com.wikipedialibrary.idm.oclc.org
2604:"Pulcinella : Stravinsky's homage to Pergolesi"
2358:(studio recording). New York, N.Y.: Leonarda. 1987.
1743:. No. May. New York Flute Club. pp. 1, 4–5
423:, who has taught in France and the USA for decades.
365:, where her mother's family was from. They lived in
1734:"KATHERINE HOOVER: A day in the life of a composer"
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ETD Collection for University of Nebraska - Lincoln
1327:"The Cultural Cost of Celebrating Katherine Hoover"
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1358:"Katherine Hoover 2016 Lifetime Achievement Award"
1227:"Rochester Review :: University of Rochester"
1895:Deborah Novak | About Us | The Charleston Ballet
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619:Katherine Hoover performs her Kokopeli for flute
2595:at Musicalics, The Classical Composers Database
2273:(studio recordings). New York, N.Y.: Leonarda.
724:, National Flute Association Convention, 1997.
338:Her work has received many honors, including a
1773:. No. May. New York Flute Club. p. 7
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1175:Global Music Awards, Silver Medalist, May 2018
2731:Teachers College, Columbia University faculty
1569:International Encyclopedia of Women Composers
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1314:. Northwestern State University of Louisiana.
1284:"Her Music: Today's Emerging Female Composer"
688:Compose the 1987, this work was premiered by
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1686:"Soloistic Flute Music by Katherine Hoover"
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1408:"So loved from afar /Scott & DuVillier"
1383:"Candlelight dreams /Scott & DuVillier"
1937:Joanne L Bio - LOS ANGELES FLUTE ORCHESTRA
1819:"Katherine Hoover - Classical Music Daily"
1583:"Joseph Mariano - Eastman School of Music"
1567:Cohen, Aaron (1987). "Hoover, Katherine".
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2006:Allen Gimbel, “Guide to Records: Hoover”
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1441:Women Composers: The Lost Tradition Found
1439:Jezic, Diane Peacock (November 1, 1994).
792:A modern, commercialized Kokopelli figure
16:American composer and flutist (1937–2018)
2761:20th-century American conductors (music)
2111:"Dr. Dick's Market Square Concerts Blog"
1655:"John Schwab to Wed Katherine L. Hoover"
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712:Documentary, Deborah Novak's New Music.
646:List of compositions by Katherine Hoover
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1545:Yarrison, Eileen Anne (December 1996).
1207:10.1093/gmo/9781561592630.article.47047
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600:, a solo flute composition inspired by
2796:Classical musicians from West Virginia
2387:Kokopeli : Katherine Hoover plays
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668:'s Newly Published Music Award, 1991.
388:Katherine Hoover (newborn's home 1937)
2771:21st-century American women composers
2766:20th-century American women composers
2756:Classical musicians from Pennsylvania
1871:"(Hoover reads)"Bach: Preclude in C""
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704:Composed in 1995, was the subject of
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2419:Hendrix, Michael (8 December 2017).
2137:Jesus Christ Superstar Original Cast
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1164:American Academy of Arts and Letters
344:American Academy of Arts and Letters
2608:M.M. Manhattan School of Music 1972
1978:. Westport, Conn: Greenwood Press.
1949:"Winter Spirits, for flute Details"
1928:Bio | Jeremy Gill (jeremytgill.com)
106:(Bachelor of Music in Music Theory)
2681:American women classical composers
1869:Hoover, Katherine (June 1, 2016).
1166:Academy Award in Composition, 1994
547:Indiana University of Pennsylvania
110:(Performer's Certificate in Flute)
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2716:People from Elkins, West Virginia
2711:Manhattan School of Music faculty
2696:American women conductors (music)
2115:marketsquareconcerts.blogspot.com
1193:Smith, Catherine Parsons (2001).
1139:Member Laureate, Sigma Alpha Iota
117:(Master of Music in Music Theory)
2746:21st-century classical composers
2736:20th-century classical composers
2706:Manhattan School of Music alumni
1476:. Papagena Press. Archived from
1282:Alex Ambrose (August 21, 2014).
2751:21st-century American composers
2741:20th-century American composers
1639:Kosack, Alicia Joyelle (2010).
1609:"NYFC archive Katherine Hoover"
1257:Jicha, Victoria (May 4, 2020).
1149:National Endowment for the Arts
720:Composed in 1997, Premiered by
680:with Larry Newland conducting.
565:National Endowment for the Arts
545:Festival of Women Composers at
340:National Endowment for the Arts
2701:Eastman School of Music alumni
2676:American women music educators
1972:Burns, Kristine Helen (2002).
1741:New York Flute Club Newsletter
1362:The National Flute Association
1143:Kennedy Center Friedheim Award
561:Kennedy Center Friedheim Award
346:Award in composition, and the
1:
2506:"The Knowledge (XXG) Library"
2408:– via www.worldcat.org.
2049:Eastman School of Music-Notes
1684:Hicks, Cathy Hancock (2004).
443:, a distinguished student of
160:Co-Founder of Papagena Press
2686:American classical composers
2628:Sanders, Nancy King (1994).
2510:wikipedialibrary.wmflabs.org
2134:Andrew Lloyd Webber (1971).
1054:Trio of the young Ishmaelite
801:Quotations and manipulations
486:. Jambor was forced to flee
301:Contemporary classical music
200:Contemporary classical music
2721:Musicians from Philadelphia
1823:www.classicalmusicdaily.com
1412:publicrecords.copyright.gov
1387:publicrecords.copyright.gov
1151:Composer's Fellowship, 1979
488:Hungary during World War II
2812:
2644:– via OCLC 32338515.
2618:– via OCLC 60610063.
2602:Katherine, Hoover (1972).
2040:Hoover, Katherine (2010).
1844:Hoover, Katherine (2015).
1517:Grames, E. (August 2016).
1325:Wang, Ariel (2021-01-29).
1155:National Flute Association
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666:National Flute Association
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625:National Flute Association
348:National Flute Association
342:Composer's Fellowship, an
205:Contemporary chamber music
2534:www.globalmusicawards.com
2384:Katherine Hoover (2001).
2260:Katherine Hoover (1984).
1308:Begay, Heidi Kay (2009).
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868:"Jesus Christ Superstar"
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744:and Jeremy Gill in 2009.
527:Manhattan School of Music
512:Third Street Music School
369:2017 Hillyer Pl NW, near
357:Biography/life and career
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114:Manhattan School of Music
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2776:American women academics
2726:American women flautists
2671:American music educators
2331:: CS1 maint: location (
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1048:Sonata no. 2, in F minor
784:Extra-musical references
542:Women's Inter-Art Center
2206:Music Of Dale Jergenson
2179:Music Of Dale Jergenson
2176:Dale Jergenson (1977).
1825:. Classical Music Daily
1689:(Thesis / Dissertation)
1026:Katherine Hoover plays
866:Original Broadway Cast
496:The New York Flute Club
416:Eastman School of Music
412:University of Rochester
405:University of Rochester
177:John Christopher Schwab
103:Eastman School of Music
2786:21st-century flautists
2781:20th-century flautists
2164:Original Broadway Cast
2087:. 2022. Archived from
1550:(Theses/Dissertations)
1263:theinstrumentalist.com
878:Jesus Christ Superstar
812:
793:
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459:throughout his career.
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307:, flutist, teacher of
2008:American Record Guide
1797:Who's Who Newsletters
1615:. New York Flute Club
991:Music LP, CD, eMusic
808:
791:
770:
701:Dances and Variations
656:Notable Compositions
644:Further information:
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437:American Flute School
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363:Elkins, West Virginia
258:Warner Chappell Music
243:Boelke Boemart/Schott
42:Katherine Lacy Hoover
2425:www.sai-national.org
1732:Zara Lawler (2013).
958:New Music for Flute
888:Flute & Piccolo
2263:New music for flute
2091:on January 17, 2022
1947:Stevenson, Joseph.
1877:. #100DaysToNFA2016
1480:on 13 December 2021
1195:"Hoover, Katherine"
966:The Medieval Suite
884:Andrew Lloyd Webber
815:Use of the abstract
759:Compositional style
737:Mountain & Mesa
729:The String Quartets
678:Harrisburg Symphony
576:Columbia University
323:, mixed ensembles,
309:Musical composition
2691:American flautists
2530:"Winners-May-2018"
1817:Corigliano, John.
1709:The New York Times
1702:Genzlinger, Neil.
1660:The New York Times
1199:Grove Music Online
1045:Sonata in G, K. 27
1042:Sonata no. 4, in A
1039:Sonata no. 2, in G
937:Nancy Laird Chance
794:
621:
468:
390:
171:Richard V. Goodwin
2431:on June 17, 2019.
2348:Journeys, track-5
2085:papagenapress.net
1985:978-1-57356-267-6
1231:www.rochester.edu
1134:Honors and awards
1131:
1130:
923:Sonata Da Chiesa
915:Sonata da chiesa
756:
755:
694:Santa Fe Symphony
685:Clarinet Concerto
616:
492:Bryn Mawr College
439:movement through
428:Bachelor of Music
325:chamber orchestra
290:
289:
149:Years active
71:21 September 2018
2803:
2645:
2619:
2593:Katherine Hoover
2584:Katherine Hoover
2575:Katherine Hoover
2566:Katherine Hoover
2562:
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2559:Official website
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1051:Carmen-Entr'acte
1024:Kokopeli :
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572:Teachers College
508:Juilliard School
426:Hoover earned a
367:Washington, D.C.
293:Katherine Hoover
286:
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238:Theodore Presser
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1663:. June 17, 1964
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997:David Chaitkin
990:
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907:Dale Jergenson
900:
895:Dale Jergenson
873:
855:Work performed
841:
833:John Corigliano
817:
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648:
642:
637:
611:
584:Sharon Robinson
531:Master of Music
504:
473:
445:William Kincaid
421:Nadia Boulanger
407:
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317:Classical music
282:katherinehoover
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52:2 December 1937
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2042:"Alumni Notes"
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1855:978-1491760376
1854:
1846:This way about
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1110:1911 wooden fl
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749:Canyon Shadows
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1031:Release: 2001
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1013:Summer Night
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1008:Release: 1987
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961:Release: 1984
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942:Ursula Mamlok
939:
938:
934:
931:
929:
926:
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918:Release: 1982
917:
909:
906:
904:Tanka Pieces
903:
899:Release: 1977
898:
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872:Release: 1971
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742:Mimi Stillman
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690:Eddie Daniels
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588:Eddie Daniels
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578:(1984-1989).
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2661:1937 births
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1881:23 December
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1747:23 December
1619:23 December
1474:"Biography"
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